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PaulD
Joined: 18 Sep 2004
Posts: 1130
Location: Chicago
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 Posted: Sat May 21, 2011 10:54 pm Post subject: I'm liking this chord |
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I've used this chord before always as a minor chord, but it recently hit me that it's pretty versatile as other minor, major and dom chords. I'm getting a lot of mileage out of it.
Paul |
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JakeJew
Joined: 30 Jul 2005
Posts: 2192
Location: Boston, MA
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| Posted: Sat May 21, 2011 11:34 pm Post subject: |
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Cool Paul!
My first impression of that is to look at that is a stacked fourth with the top note dropped an octave (ADGC to ACGD)
I'll throw in another few uses:
Ebmaj7#11, Gm7, D7sus4, F7
there's a similar shape I've been digging lately:
xx7537, or x7x537...similarly a lot of harmonic uses, but I actually just like using them in 'free' improv setting...
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"Inspiration may be a form of superconsciousness, or perhaps of subconciousness - I wouldn't know. But I am sure that it is the antithesis of self-consciousness." - Aaron Copland |
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steve
Joined: 04 Jun 2005
Posts: 867
Location: oz
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| Posted: Sun May 22, 2011 9:45 am Post subject: |
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Fun post Paul!
You still doing your M Taylor course? How's it going?
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Jazzy
Joined: 14 Dec 2004
Posts: 1660
Location: Norway
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| Posted: Sun May 22, 2011 10:44 am Post subject: |
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Cool. I see that chord as a close Am7, but with D replacing the E, so you get a Am11 chord. So why stop there? Take all your Am7 voicings and change the E to D, then you get lots of great voicings.
Actually this was the subject for my master thesis, writing about harmonic substitutions. Seeing all the functions one chord could have. Instead of trying to learn "all chords and voicings" as most books tend to recommend. So if you master a certain chord and voicings, try to play through a whole tune just using this. Lots of fun  |
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trotsky
Joined: 24 May 2007
Posts: 438
Location: Sarnia Ontario Canada
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| Posted: Sun May 22, 2011 1:40 pm Post subject: |
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I use shapes like that a lot.
Very cool sounds.  |
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JakeJew
Joined: 30 Jul 2005
Posts: 2192
Location: Boston, MA
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| Posted: Sun May 22, 2011 3:22 pm Post subject: |
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| Jazzy wrote: | Cool. I see that chord as a close Am7, but with D replacing the E, so you get a Am11 chord. So why stop there? Take all your Am7 voicings and change the E to D, then you get lots of great voicings.
Actually this was the subject for my master thesis, writing about harmonic substitutions. Seeing all the functions one chord could have. Instead of trying to learn "all chords and voicings" as most books tend to recommend. So if you master a certain chord and voicings, try to play through a whole tune just using this. Lots of fun |
So in this search, did you find any particular voices that you found the most useful, capable of taking the most harmonic forms?
Only giving it a little thought, it seems like a lot of sus4, maj7, 6/9, and m7 chords can be interchangeable, and a lot of dominant, m6, m7b5, and alt dominant chords can be interchanceable...
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"Inspiration may be a form of superconsciousness, or perhaps of subconciousness - I wouldn't know. But I am sure that it is the antithesis of self-consciousness." - Aaron Copland |
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PaulD
Joined: 18 Sep 2004
Posts: 1130
Location: Chicago
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| Posted: Sun May 22, 2011 3:31 pm Post subject: |
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| steve wrote: | Fun post Paul!
You still doing your M Taylor course? How's it going? |
Hi Steve! Hope things are good down under. Up here things are going well, still traveling a lot. Yes, I'm still doing the MT thing and still getting a lot out of it.
Paul |
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PaulD
Joined: 18 Sep 2004
Posts: 1130
Location: Chicago
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| Posted: Sun May 22, 2011 3:35 pm Post subject: |
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Here are some other versatile chord shapes I've been fooling around with:
This was from a Barry Greene lesson:
These are just some rootless 3-7-9 voicings
(The dots just show where the root is in relation to the chord, but are not played)
Anyone have any others to share?
Paul |
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PaulD
Joined: 18 Sep 2004
Posts: 1130
Location: Chicago
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| Posted: Sun May 22, 2011 3:39 pm Post subject: |
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| JakeJew wrote: |
there's a similar shape I've been digging lately:
xx7537, or x7x537...similarly a lot of harmonic uses, but I actually just like using them in 'free' improv setting... |
These sound great Jake. It's hard shape for me to grab 
Paul |
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M
Joined: 02 Jan 2009
Posts: 331
Location: Northern VA (USA)
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| Posted: Sun May 22, 2011 4:44 pm Post subject: |
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| Nice post! |
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Jazzy
Joined: 14 Dec 2004
Posts: 1660
Location: Norway
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| Posted: Sun May 22, 2011 7:51 pm Post subject: |
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| JakeJew wrote: |
So in this search, did you find any particular voices that you found the most useful, capable of taking the most harmonic forms?
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Yeah, absolutely. I use this one quite lot: maj9no3 ( So in C you get these notes C D G and B ) You can find some really nice voicings with these. Just take all your maj7 and change the E to D. Lots of voicings and inversions. Ex. drop 2: x3543x - x5958x - xx5537 - xx9788 ( I don`t have the guitar in front of me, so I hope these are correct )
Also try it with drop 3, drop 4 and drop 2 and 4
I`ll try to post some more later.
Btw,you have the two Brett Willmott books on harmony? They`re great!!!
Last edited by Jazzy on Mon May 23, 2011 4:34 am; edited 1 time in total |
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JakeJew
Joined: 30 Jul 2005
Posts: 2192
Location: Boston, MA
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| Posted: Sun May 22, 2011 9:17 pm Post subject: |
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| PaulD wrote: | | JakeJew wrote: |
there's a similar shape I've been digging lately:
xx7537, or x7x537...similarly a lot of harmonic uses, but I actually just like using them in 'free' improv setting... |
These sound great Jake. It's hard shape for me to grab
Paul |
using a shorter scale guitar and sitting in classical position helps a lot! thumb on the back...
_________________
"Inspiration may be a form of superconsciousness, or perhaps of subconciousness - I wouldn't know. But I am sure that it is the antithesis of self-consciousness." - Aaron Copland |
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JakeJew
Joined: 30 Jul 2005
Posts: 2192
Location: Boston, MA
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| Posted: Sun May 22, 2011 9:56 pm Post subject: |
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| Jazzy wrote: | | JakeJew wrote: |
So in this search, did you find any particular voices that you found the most useful, capable of taking the most harmonic forms?
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Yeah, absolutely. I use this one quite lot: maj9no3 ( So in C you get these notes C D E and G ) You can find some really nice voicings with these. Just take all your maj7 and change the E to D. Lots of voicings and inversions. Ex. drop 2: x3543x - x5955x - xx5537 - xx9788 ( I don`t have the guitar in front of me, so I hope these are correct )
Also try it with drop 3, drop 4 and drop 2 and 4
I`ll try to post some more later.
Btw,you have the two Brett Willmott books on harmony? They`re great!!! |
So in C I guess I see that as being, possibly...
Cmaj9, Dsus4, Fmaj7#11, G7sus4, um Abmaj7#9, Am7, B7alt?
with Eb in the bass it could be an inverted C-maj7
are there any other harmonic uses? Are there other (or any) uses for this shape as a dominant?
_________________
"Inspiration may be a form of superconsciousness, or perhaps of subconciousness - I wouldn't know. But I am sure that it is the antithesis of self-consciousness." - Aaron Copland |
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mr. beaumont
Joined: 10 Apr 2006
Posts: 907
Location: chicago
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| Posted: Tue May 24, 2011 2:31 pm Post subject: |
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I like how some of those shapes can be used as a ii, V, and a I (or i)
Gets me thinking about symmetrical lines to use based off the arpeggios...
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“For the guitar is the most unpredictable and least reliable musical instrument in existence...and also the sweetest, the warmest, the most delicate, whose melancholic voice awakes in our soul exquisite reveries.”
Andres Segovia |
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